While photography replicated the stationary and the concrete, these painters sought to emulate the ephemeral and the fleeting. Impressionists like Claude Monet and Berthe Morisot turned their eye to mists, to dusk, to the dappled colors of light on water, to the movement of air across a woman’s bare shoulders in the glow of a low-lit dressing room. If a photograph was a moment frozen in time, painting remained fluid, temporally as well as physically. It still breathed, and could defy the pinned stagnation of the shutter speed.